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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/30061


    Title: D'ANTONIN ARTAUD À VALÈRE NOVARINA: LE THÉÂTRE ET LA MATÉRIALISATION DU LANGAGE D'antonin Artaud
    Other Titles: 阿鐸與諾法希納戲劇觀探析:劇場及語言之實體化
    From antonin artaud to valère novarina: the theater and the materialization of language
    Authors: 王菀如;Wang, Wan-ju
    Contributors: 淡江大學法國語文學系碩士班
    梁蓉;Liang, Jung;隆格;Longre, Jean-pierre
    Keywords: 阿鐸;諾法希納;劇場;實體化;具體語言;舞台調度;Antinin Artaud;Theater;Materialization;Concrete Language;Mise-En-Scene;Valere Novarina;Theatre;Langage Concert;Mise en scene
    Date: 2008
    Issue Date: 2010-01-10 23:19:15 (UTC+8)
    Abstract: 自十九世紀末自由劇場(Théâtre Libre)創立開始,「導演」在法國劇場中的地位逐日受到重視。如同法國學者利吾( Michel Lioure)於其著作《閱讀現代劇場:自克羅岱爾至尤涅斯科》(Lire le théâtre moderne: de Claudel à Ionesco)中所提及,現代劇場的創作重心,實為舞台調度(mise en scène)。誠然,二十世紀以降,法國現代劇場不再以文字文本為依歸,劇作家亦不再握有絕對的創作主導權。而促成劇本作者與舞台文本作者間權力更迭的推手,非紙本與舞台或文字和實體等創作素材的差異性,而是文本概念及定義的翻轉—即書寫語言(langage écrit) 與具體語言(langage concret) 的重新定位與交互運用。
    在眾「反傳統」的法國現代劇場工作者中,將語言與舞台調度之間緊張且緊密的關係推展至極者,屬阿鐸 (Antonin Artaud,1896-1948)及諾法希納 (Valère Novarina ,1947-) —二人皆以「具體」的角度審視文字、物件、表演與空間的關聯性,並藉此「新」語言觀,為文字文本及舞台文本另闢蹊徑:前者反對以文字統御舞台,強調以劇場中所有具體的元素及其延伸義填滿劇場空間;後者將書寫與空間結合,並以演員為中介,讓文字得以於舞台上以實體呈現。
    為檢視二位戲劇「解構者」劇場理念的來龍去脈,本論文分為三個章節:第一章以阿鐸的劇場理念為重心,分析具體語言之於舞台調度的意義及重要性;第二章則以諾法希納的劇場美學為主,探討他如何反法國戲劇傳統,並何以使文字「活生生」出現於舞台上;第三章為前二章內容的統合,並各舉阿鐸與諾法希納的ㄧ部戲劇作品為例,分析二者經過多方思考及嘗試後所得出的改革成果—語言的實體化 。
    In France, the foundation of Théâtre Libre in 1887 unveiled the era of director. Since then, the mise-en-scène has been the subject of important research for those who tried to redefine the French traditional theater, based upon rational discourse.
    Among the theater workers who broke down the psychological and cultural barriers of traditional theater, Antonin Artaud (1896-1948) and Valère Novarina (1947- ) proposed the creation of concrete language, a language in space: Artaud attempted to ruin the illusion reproduced by the words and to compose the drama with objects on the stage. Novarina placed the actors at the center of his works and asked them to “burn” the words by their respiration and body.
    This thesis tries to make clear their theater ideals, especially their conception of language that re-established the theater, which had lost its meaning. Indeed, for Artaud and Novarina, the materialization of language is the most important element to the mise-en-scene, art immediate and direct.
    Appears in Collections:[法國語文學系暨研究所] 學位論文

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